will vodery ii 1884-1951 - basin...
TRANSCRIPT
Will Vodery II
1884-1951
Will Vodery
Introduction - 1
List of Activities - 5
Vodery in Army - 11
After the War - 23
Articles - 36
Some opinions on developments on early jazz - 75
Conclusion - 86
Spriccio, John - 98
Chiaffarfellit, Alberto - 98
Photos of Bands - 100
Vodery was born in Philadelphia, Pa. in 1884. There is
very little information about his early life or musical
training. When he was 10 years old he played organ for his
church and attended the Univ. of Pa. as a student and was
the university's orchestra's pianist. During World War I he
served in the 807th Pioneer Infantry Regiment, not a combat
unit, but an engineering outfit that was on the front and
built bridges. He also served as a bandmaster.
1
In his career, mostly as a musical conductor, composer,
arranger and orchestrator, he collaborated with such names
as George Gershwin (orchestrating the "Blue Monday/135th
Street mimi opera, and the concerto in F), and Jerome Kern
in "Show Boat." Vodery also was mentor to William Grant
Still, George Gershwin and Duke Ellington. He worked with
Florenz Ziegfeld in the Ziegfeld Follies and with the talented
Florence Mills and Ethel Waters. His work was, as is most
arrangers are, behind the scene working with these giants of
music and show business. He also worked closely with
vaudevillians Bert Williams and George Walker and with
the famous Ada Overton Walker. Vodery was a talented
musical composer, writing numerous popular Broadway
shows, music for films and for vaudeville acts.
Beginning in 1910 to 1911 Vodery was the musical
director for performances at the Howard Theater in
Washington, D. C. During his tenure at the Howard he co-
wrote music and lyrics with J. Leubrie Hill's on "My Friend
From Dixie." which became known as "The Darktown
Follies." This show became one of the standard landmark
shows at the Lafayette Theater in Harlem. With Will Marion
Cook he wrote the show "Swing Along" in 1929.
Vodery was a major influence on Duke Ellington. Barry
Ulanov stated that: "Ellington drew his chromatic
convictions, His use of the tones ordinarily extraneous to the
diatonic scale, with the consequent alteration of the
harmonic character of his music, its broadening, and the
deepening of his resources." Duke serious appreciation of
2
those and other modern composers, Delius, Debussy and
Ravel came after his meetings with Vodery.
From 1929 to 1932 Vodery was the musical director and
arranger for Fox Films in Hollywood. He returned to New
York City and arranged music for 'Shuffle Along of 1933"
and for Ed Sullivan's Harlem Cavalcade.
He was also known as a bandleader and trainer of
choirs. He was called: "The preeminent Africa-American
musician of his generation." He was also friends and
association with Oscar Hammerstein, Noble Sissle and so
many other stars in musical circles. The Broadway shows
that he orchestrated include:
3
Dates of some of Vodery's shows are listed below:
Plantation Review - 1922/23
Dover Street to Dixie - 1923/24
Plantation Review - 1924 (Feb.)
Dixie to Broadway - 1924/25
Plantation Review - 1925
Blackbirds of 1926, 27, 28, 29
4
Blackbirds of 1933/34
Blackbirds of 1934
Most often it is the star's singing and dancing to
arranged music that the audience is aware of, while the
arranger of this music and the conductor in the pit is often
not known to the audience. Little publicity is given to the
arranger and orchestrator. Vodery is not known today as he
was in his life time. He was one of the most important and
influential musicians of his era. He composed many popular
songs and did many scored for both Broadway, other theater
groups and for vaudeville acts. Vaudeville was the popular
entertainment in this era. Vodery wrote music for many
vaudeville acts and was much in demand. He often was in
the pit conducting the orchestra and often traveled with the
road companies. Being an arranger he could still work
arranging during the day and then conduct a performance
at night. For his shows he often rehearsed the music.
The vaudeville acts and Broadway shows usual are
presented only for a short time and a new act and music is
needed for the next year to make the act fresh and current.
Some shows lasted only a short time while some might last a
year or two. So there was always a demand for new and
fresh, current material and music.
Many articles and books do not include mention of
Vodery. Negro vaudeville and Broadway shows are not in
the main interest for many white newspapers and magazines
5
but are usually covered by black news media. Vodery was so
talented and engaged that his race didn't seem to matter.
There are a few mentions about jazz in Vodery's works.
Johnny Dunn, a popular jazz cornetist was in Vodery's
band, With the Jazz craze all around music during his era
much of his music must have had jazz elements.
Below is a chronological list of Vodery's activities.
1904 - Vodery was an extremely gifted musician/arranger.
He replaces J. R, Europe as musical director of the show "A
Trip to Africa" was a compilation of music by Europe,
Vodery, Larkins and Dave Payton. Vodery was then 20
years old. Noble Sissle says Vodery wrote and orchestrated
the score. Vodery was still touring with the show in the
spring of 1905.
1905 - Vodery from 1905 to 1907 was in Chicago working for
C. K. Harris Music House. He was also the librarian for the
Chicago Symphony and is said to have studied with
Frederick Stock.
In 1906, while still in Chicago, Vodery contributed
songs for Jordan's Pekin Stock Company in "The Man
From Bam." Vodery is said to have also contributed to the
show "The Time, The Place and the Girl," probably as an
arranger or orchestrator.
6
In May of 1907 was the revival of "My Friend From
Georgia." Vodery's "Yankee Doodle Coon" was used later
in "Oyster Man"
The New York Age of July 25, 1907 states:" In late 1906
or 1907 Vodery met W. M. Cook in Chicago when Cook was
at the Pekin. Vodery then comes to work on "Bandanna
Land" with Cook, starring Walker & Walker, and with
Hogan in "Oyster Man" as musical director. This was his
first big break. The show had about 14 to 17 musical
numbers. It is the debut of Vodery as a composer of songs
for the stage. The show was produced by Hurtig and Seaman
that began an association between the men. From Sept. 26 to
Jan. of 1908 Hogan was ill and the company disbanded.
Vodery is now writing now for both white & black
shows with steady employment doing burlesque skits and
has a large amount of his original music in 3 shows on the
vaudeville circuit. They are: "Broadway Burlesquers,"
"Social Maids," and "Girls from Happyland." In 1909 he
continues to write for Hurtig and Seaman. In the Happyland
show we find two farce vaudeville skits - "The Man from
Tiffany" and "Two Hot Nights."
In 1910 Vodery continues to write for a number of
summer shows. He makes a cylinder with the
"Indestructible Military Band."
7
In June of 1910 he contributes music for comedian Leon
Errol's act and receives first contract from Fl. Ziegfeld to do
music for the "Follies of 1911." In 1918 he enlists in the
Army in WWI (He returns in 1919 after the war is over.)
Also in June of 1910 Vodery conducts the Colored
Vaudeville Benevolent Association (CVBA) Orchestra in a
minstrel show in Newark, N.J. (The second part was
Vodery's music.) In August of 1910 he writes all the music
for "The Down in Dixie Minstrels" for John Rucker and the
Smart Set Company.
In August of 1910 Vodery is appointed director of the
Howard Theater Orchestra its opening date is on August 22,
1910. He is preparing a vaudeville show in America and a
tour of the Europe continent by the Howard Theater
Company. He is now in the pits conducting the Howard
stage shows.
Howard Theater
8
In September Vodery writes for Hurtig and Seaman for
a show entitled "Night Life in Two Gay Cities."
In October Vodery writes music for "My Friend From
Dixie" for J. Leubrie Hill. While at the Howard (in
Washington D.C.) he mounts the "Big Minstrel Carnival." It
goes for 2 weeks and he writes two new works for this
production.
While at the Howard Vodery writes "Blackville
Corporation" (also called "The Black Promoters"). In
January of 1911 the next show at the Howard by its stock
Company is "The Dixie Minstrels." Vodery writes one
original new number for the Olio, a musical farce called
"From Natchez to New Orleans," that closes the show, a
work that is said never before equaled in minstrelsy. Later
in January Vodery resigned from the Howard Theater. He
goes on the road with Hill's show in early 1911 as musical
director until May.
In the Washington Bee of January 21, 1911 we read:
"The music of "My Friend From Dixie" is by Will H.
Vodery, for years director of this class of shows. Many white
successes are using Vodery music under different names.
Now in Chicago Vodery rehearses 3 white shows with
his music, probably for Hurtig & Seaman as musical
director until May. He also writes and stages a parody on
"Madame X" called "Madame X-cuse Me"
9
In June of 1911 Vodery's first show for Ziegfeld is done.
He is now under contract for Ziegfeld. In August he 1911
Vodery composes & rehearses "Dr. Bean From Boston" for
the "Smart Set Company" and is in charge now as musical
director and as conductor in the pit. In December of 1911
Vodery composes the music for Hurtig & Seaman's
Burlesque Company called "The Social Maid." He continues
to write for the "Social Maid" until 1918.
In 1912, in September, Vodery composes the music for
Hurtig & Seaman's "The Girls in Happyland" (an all white
review that the company performs until 1933).
In September of 1913 Vodery is now musical director
for a huge Ada Overton Walker charity event on May 15,
1913 at the new Star Casino. He writes for two vaudevilles
skits 'Puerto Rice Girls' and "Happy Girls."
On June 16th of 1913 the Ziegfeld Follies opens with
music by Vodery. In August Vodery is the musical director
of the Frogs performance at the Manhattan Casino with J.R.
Europe's exclusive Society Orchestra. In the fall of 1913
Vodery ends as director of "Dr. Bean From Boston"(for a
2nd season) and travels on the road in late 1913 with Ada
Overton Walker's vaudeville show as musical director.
In 1914 the next version of the "Follies" opens on June
1st with Bert Williams and Vodery's hit song "Darktown
Poker Club."
In August of 1914 Vodery writes for Irwin C. Miller's
"Mr. Ragtime" which lasted over 2 years. Also in August of
1914 Vodery is preparing music for a burlesque called
10
"Busy Little Cupid" for Hurtig & Seaman. In October
Vodery has extended his role in the big Harlem Exposition
with special music written and arranged.
In January of 1915 for the skit "Girls of the Moulin
Rouge", a two act burlesque, has music by Vodery. In April
there are plans for a revival of Hogan's "Oyster Man."
On June 21, 1915 the Ziegfeld Follies opens with music
by Vodery. In August he writes some songs for "The Girl
Trust", a Hurtig show that begins a tour of the vaudeville
circuit. While continuing to write he leads the orchestra at
the Cocoanut Grove of the Century Theater Roof Garden.
In September he conducts the orchestra for "Town
Topics." Also in September he contributes music to "Two
Husbands and One Wife."
The 1916 edition of the Ziegfeld Follies opens with, of
course, music by Vodery. In August of 1916 Vodery writes
music for "The Rag Doll of Ragland," a show with 9 scenes.
Also the company "Bowery Burlesquers" have a new two-
act burlesque entitled "At Lobster Beach" with original
music by Vodery. The newspaper "New York Age" calls
Vodery "One of the best orchestrators in Manhattan and the
services are being dearly sought after nowadays by the
leading theatrical promoters in New York. He is recognized
as one of the best orchestrators of music in Manhattan."
In April of 1917 Vodery creates special Indian music for
Doraldina's Montmartre in "A Cherokee Indian Classics of
11
Historic Significance" in her new Indian room at
Doraldina's Montmartre at Broadway at 5oth.
In June of 1917 Vodery again writes music as the
Follies present a new show. Also in June Vodery orchestras
"Story Songs of the City." Also in August of 1917 the
company "Some Babies" is a new vehicle called "The Love
Cure" with music by Vodery.
In September Hurtig and Seaman Company have a new
act "The Boys From Home" with music by Vodery. In
November Vodery recommends George Gershwin as a
rehearsal pianist for Ziegfeld's "Miss 1917."
Vodery in the Army
Black U.S. Army Bands and their Bandmasters in WWI by
Peter Lefferts
The other prominent black regimental band of WWI,
Will Vodery's 807th Pioneer Infantry Band, began its
overseas service with a taste of combat. "When we arrived in
a certain part of France we were carry ammunition to the
front under fire." Its "climatic success" really began,
though, when it was detached from its regiment to be the
First Army Headquarters Battalion Post Band, the most
distinguished and lengthiest assignment undertaken by any
of the black regimental bands, in which capacity it played all
over France. This opportunity was created when on October
16, 1918, General John J. Pershing turned over personal
command of the million-man US First Army to General
Hunter Liggett, who commanded it until April 20, 1919.
12
Naturally, Liggett then needed his own headquarter band,
independent of Pershing's and a competition was set up for
the position, which was won when Vodery's band beat out
four other (white) regimental bands. The band transferred
to the First Army on November 13, 1918. Based first at
Souilly near Verhun and then at Bar-sur-Aube in the
countryside southeast of Paris, close by to Pershing's own
headquarters at Chaumont. Vodery's men served as First
Army headquarters Band for five months until the First
Army was dissolved in April. In early 1919 Vodery stepped
away for two months to do the Bandmasters course at
nearby Chaumont, and a Vodery letter shows that after the
course he expected to return to the US with First Army
Headquarters. Instead, in late April, he and the band were
sent back to their regiment, which had missed them solely.
A few references indicate the calibre of event for which
Vodery's band provided entertainment in this assignment. It
represented the American Army at a reception for French
President M. Poincare and Mme. Poincare at Verdun on
November 20, 1918, When Poincare was traveling to join
Marshall Foch and Petain for the ceremonial entries into the
liberated towns of Alsace-Lorraine. Poincare "said it was the
first colored band he had ever heard and its music was
astounding." On December 5, the band played while
General Liggett decorated eight aviator aces at Souilly. On
January 8 it played at the services in honor of Colonel
Roosevelt at which General Liggett and General Drum and
staff were present (Theodore Roosevelt had died on January
13
6). Further, during January the band played at one of the
Catholic Cathedrals, and it also played privately on January
19 for the Prince of Monaco at his Chateau. "The Prince
expressed particular pleasure in Negro music." On March
21, they played for General Pershing, his staff and guests,
the king and queen of Belgium, at Lignoi, the chateau that
was Lieut. Gen. Hunter Liggett's headquarters, near Bar-
sur-Aube." On April 6 they played for General Pershing at
Bar-sur-Aube. And they also made tours of base hospitals, of
course.
Vodery's outfit was very much a theater troupe as well
as a concert band, and could mount at least two different
shows. A description of one of the shows performed in Bar-
sur-Aube in January mentions comedy sketches, a sax
quartet, a comedian and a song & dance routine.
Indication shows that Vodery had found, amongst the
regiment's draftees (or brought with him into the band as
volunteer enlistees) many East Coast professionals. By one
later description a band of 52 players, one photo shows a
conductor and 47 instrumentalists. For theatrical shows they
broke out a smaller group. There is a roster of Vodery's
minstrel show and pit orchestra totaling 30 names,
comprising about 10 actor-singers and 20 instrumentalists.
More than half of these individuals can be traced as active
professional actors and musicians in civilian life. One
particularly prominent subset of men who played together in
the 807th was Opal Cooper, Sammy Richardson. Louis V.
14
Jones and Earl Grandstaff-returned to France after the war
and played together on-and-off for most of the 1920s.
The three most celebrated band were those of Jim Europe
Tim Brymn, and Will Vodery. The African American Pioneer
Infantry regiment bands sailed from 'August to October 1918
and the 807 band assisted in the final bloody assaults on
German positions and stayed on the continent much later
(deep in the summer months of 1919).
The three popular 'jazz' bands in France during WWI
Much has been written about J. R. Europe and his
"Hellfighters Band" in France. Europe enlisted and his Col
Haywood asked him to form a band. Band music of France
and England were greatly superior to U. S. Pershing
believed bands were essential to troop morale and
implemented a training program to improve the Army's
bands. He increased regimental band strengths from 28 to 48
pieces. It was the ragtime and jazz that made American
bands popular with both the troops and the civilians. He
said: "Lieut. Europe I want you to organize for me the best
damn brass band in the U. S. Army. With help, Europe
organized a band of recruits. Bill 'Bojangles" Robinson was
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the band's drum major. In the fall of 1917 the band was sent
to France as the 369 Infantry Band. The band, besides being
a brass band (as were Tim Brymn's and Will Vodery's
Bands) included musicians who could sing, dance, do
comedy and all kinds of entertainment. The bands could
break down to a dance or theater orchestra. The bands
entertained the troops as well as traveling throughout
France to entertain the local citizens. Much of the success of
these bands was the jazz numbers they played. This success
presented a demand for Negro musicians in France.
Europe's Band
Europe's Band success had an effect on other New York
regiments thus came Tim Brymn's USA Field Artillery Band
being sent to France. Brymn was a rival of Europe at the old
Clef Club in New York. His band was described as an
"overseas jazz sensation." It was named "The Black Devils
Band," of the 350th USA Field Artillery Band. It was also
16
described as "the jazziest, craziest best tooting outfit in
France.
After the war, unlike Vodery's Band, Brymn's Band
took a world and US tour. They played a concert at the
Manhattan Opera House and made recordings. He is created
with introducing the song "The Black Bottom." The famous
Willie, "the Lion' Smith was in the Brymn Band in France.
He received his nickname in France for his bravery while in
the unit. Many give him credit for introducing jazz to
France.
Europe's Band did various activities upon returning to
the US but his success was ended when a member of his
band, drummer, Private Hebert Wright stabbed him on May
9, 1919. He died a few hours later in the hospital. Vodery
continued his earlier career as an arranger, orchestrator,
composer of vaudeville, stage and musical comedy shows,
mostly in New York, but did travel with various groups
throughout the country.
17
Europe's Band at hospital in Paris
Tim Brymn's 70 Black Devils of the 350th U.S.A. Field
Artillery Band caused a sensation at the peace conference,
playing for president Wilson. Brymn described his band as
"A military symphony engaged in a battle of jazz.”
18
Tim Brymn-circa 1918
Brymn's Black Devils
Of the 200-odd bandmasters there were 229 white
bands and 11 non-white bands.
Vodery attended the Army band school in Chaumont
operating from November 1, 1918 to June 1, 1919. The
course of study lasted eight weeks. Will Vodery attended the
school in late 1918 and early 1919. Vodery attended from
February though early April. Vodery was the only African
American among the 40 in his class. Vodery did outstanding
work there. Vodery's band, when discharged did not become
part of an enterprise in touring the US. Some thought that
the Vodery band surpassed any other band that ever went to
France.
Upon returning to America he wrote the music for Bert
Williams' show, "The Pink Slip," which was produced by A.
H. Woods.
19
New York Age - July 20, 1918
The following have been booked for over "Uncle Sam's
Time," Camp Dix, N. J., commencing July 19: Willie Loftus
Gulfport of Crumbly and Gulfport; Jimmie Parker,
formerly of Deas and Parker; Emanuel Garden, Nathan De
Lorch of McKissick and De Lorch; Garland Howard of
Howard and Craddock, and Will H Vodery, arranger, who
is to become bandmaster.
New York Age - December 21, 1918 - Will H. Vodery
Will H. Vodery, bandmaster of the 807 Infantry, in a
personal letter to Alex Rogers, written in France, Nov. 22,
has the following to say about the band:
"To begin with I am well and have been well ever since
leaving the States, although there has been a lot of sickness
all around me. The band has made over good with a bunch
of raw true material. I have worked it up to the place that I
can say I've got a real band. Headquarters has taken us
away from the regiment and attached us to the headquarters
as post band of the First Army.
Opal Cooper, Eddie Stafford, Grandstaff, and
Blackburn, with the assistance of about twenty good voices,
have put on a knock-out show, and seem to please them
everywhere. Charlie Thorpe, along with the rest of the
bunch, wishes to be remembered. We were commanded to
play for the President of France on the 20th at Verdun and
he said, in his language, it is astounding to hear such
20
wonderful music.' Well, those babies certainly did play. We
have really done out bit and made good."
New York Age - January 4, 1919
The organizing and development of an army band are
told with considerable pride by Charles L. Thorpe, Jr., first
sergeant, Headquarters Company, 807 Pioneer Infantry
Band, now the Post Band of the First Army Corps. The work
incurred in arriving at this result is summarized and the
active part played by the band in the entertainment of the
soldiers is sketched in a lively manner. The appointment as
post band was only made after a competitive tryout with
four other bands.
How the band played for the President of the French
republic, together with his comment on its performance, and
something about the personnel of the performers, will be
found in the letter below:
"It is a pleasure for me to write you about this
wonderful organization. No doubt it will be of some interest
to you, also to your readers, to hear from us. Mr. Vodery,
our bandmaster, with his wonderful support, has made a
reputation with this band in less than six months, almost
equal to the American Army, in comparison to the German
Army that was.
When Mr. Vodery and myself enlisted at Camp Dix, for
the purpose of organizing a band, on July 20, 1918, it was in
our minds to have just what has materialized-a great band.
In more than one way the work was hard-to get men to
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enlist. However, a few did. The first one was Eddie Cole
(Stofford), who had been a band man with the original "Old
Kentucky" show, also a good first class performer. Albert
Smith, who has made good on the clarinet, also was selected
as cartoonist for the Camp Dix Times, and aboard ship.
However in looking around the camp among the drafted
men we found quite a few men who were musicians. Among
them were Ralph Redmond new assistant bandmaster and
Paul Grundhoff, who have been a great help to us. Sergt.
Redmond is indeed the man who can get the best results out
of a man's musical ability and he is doing nice work with the
band. We also have with us in Willie Lefton (Gulfport), well
known in Harlem and or principal comedian, a good alto
player. He and Stafford are partners in "The Jail-House"
act.
We have entertained all over France and our shows and
band are taken as marvelous production. Mr. Vodery has
composed quite a few numbers since we have been here,
namely: "The Col. Cary March" with words, and "My
Bouquet," a sentimental chanson; also two complete shows
with music, which we use in the Y. M.C.A.'s hospitals, Red
Cross huts and aviators' quarters.
Finally we were selected to make a tryout for the
position of Post Band for the First Army Headquarters with
four white bands and it's up to you to judge the outcome. We
are now the Post Band of the First American Army
Headquarters. At Camp Dix we started our career giving
band concerts and minstrel show at the Y.M.C.A. and
22
winding up at the Liberty Theatre. After a most successful
trip across the Atlantic, in eleven days, without accident, we
arrived safely and immediately started our work, making a
real band and first class show at the same time. Opal Cooper
who was the Drum Major was quite in place with his silver-
toned voice and was a great help to us. Mr. Vodery with his
experience-first with Hogan's shows and lastly Ziegfeld's
and the Klaw and Erlanger productions proved his ability
was not lacking; our shows were therefore a great success.
I will give you a slight synopsis of one of them: Opening
by orchestra-with violins played by the following men: Corp.
Louis V. Jones, Boston, Mass.' Bernard Parker, New York;
Ralph Howard, Providence, R. I. Trombones handled by
John Reeves, New York; Douglas (Chink) Johnson, Cornet,
Dallas, chambers, Bayonne, N. J. and Corp Chas. Wall,
Pittsfield, N. J. Bandolines, Ernest Edmead, New York;
Thos. L. Whaley, Boston Mass., Saxophones, Samuel
Richardson, New York, Horns, McCormack, Samuel
Wooding, Philadelphia, Piano, Clarence Wilson, New York,
Georgie Howe, trap-drums, Brooklyn.
Then we follow with ensemble entitled 'Greetings." The
setting-endmen: Eddie Cole (Stafford), Willis Lofton
(Gulfport), Harrison Blackburn, Earl Grandstaff, Opal
Cooper, Duncan Pope, Wm. McMaster, Nathan De Loach,
John H. Scott, Henry Turman, Chas. L. Thorpe, Jr.
interlocutor, in a very up-to-date manner.
Our number is followed by jokes, the first part of which
closed with a song, "Uncle Sammy," a number composed by
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our Band Master and put over in fine shape by Henry
Thurman and the entire company.
The Olio opened with a jazz number by the orchestra;
in sequence came H. Blackburn, monologue; Opal Cooper,
solo; saxophone quartet, S. Richardson, L. V. Jones, C.
Williams, C. I. Thorpe, Jr.; the 807 Pioneer Infantry
quartet, P. Richardson, Opal Cooper, W. Lofton, E. Cole;
and last, but not least Cole and Lofton in the "Jail House."
After this the band would play the closing numbers. If
conditions permitted there was as a rule a dance with Jazz
Band playing.
After the War
Returning from the war Vodery returns to work for
Ziegfeld. Many of the Negro bandmasters kept their bands
intact and toured the country or played in various clubs.
Vodery career mostly was in writing arranging and
orchestrating music for various media - vaudeville acts,
shows and special occasions. One of his first compositions is
the song "My Bouquet" for Margaret Ward's vaudeville act.
In 1919 he is hard at work. He arranges and orchestras
the show "Three Showers" a two-act musical. He also
arranges music for Mable Frenyears' new vaudeville act.
In September of 1920 Vodery contributes songs and
orchestrations for "Broadway Brevities of 1920." The show
stars Eddie Cantor and Bert Williams.
24
In May of 1921 Vodery arranges and orchestrates music
for Noble & Sissle's "Shuffle Along" and directs the colored
orchestra and it is said that Vodery stages the show. At first
Florence Mills was in the show and then Josephine Baker
with Vodery as musical director. In 'December of 1921
Vodery writes the music for Bert Williams last show "Under
the Bamboo Tree" (original title "The Pink Slip").
Also in December Vodery becomes the band leader of
the 369 Regimental Band of the New York National Guard
for 6 months with Lieut. Noble Sissle as manager when Col.
Little pursued the idea of a smaller ensemble. Vodery &
Sissle did not like a smaller band idea so they quit. The Col.
said a smaller band could get more work (and money). This
plan of more activity did not go with the two's schedule.
Vodery opens a blues contest at the Manhattan Casino
with Sissle acting as M.C.
On January 20th, 1922 a group of Harlem singers and
entertainers who had been in Franc during WWI sponsored
a blues singers contest and dance with music by a 67 piece
regimental band, directed by Will Vodery. At midnight the
dance floor was cleared for a blues contest. Four of the most
popular blues singers of the day competed: Trixie Smith,
Daisy Martin, Alice Leslie Carter and Lucille Hegamin. The
winner was 'The southern Nightingale" Trixie Smith. It is
not known of the Vodery orchestra accompanied the blues
singers.
25
In 1922 Vodery was engaged to organize his own
orchestra for the Plantation, one of the smart cabarets in
New York. Except for a short stay in Europe, where he was
very successful, Vodery was at the Plantation until it closed a
few months ago.
In 1922 Vodery makes a 156 page score for Gershwin's
opera "Blue Monday." This small opera was a part of
George White's "Scandals." It featured Gershwin's "Blue
Monday Blues."
In March of 1922 and for the next 7 years Vodery
writes for Ziegfeld and Hurtig and Seaman. Lew Leslie
produces the Plantation Club Review with Florence Mills. In
Feb./March Vodery arranges the show "Night Time Follies
in Dixieland."
Vodery is in the pit for Lew Leslie's show "Blackbirds
of 19XX" series until 1929. He wrote for the show until 1933
as a arranger and/or a conductor and toured with them
which included an European tour.
From mid 1922 Vodery is out of the pit with "Shuffle
Along" and is busy with his Plantation Orchestra playing for
Florence Mills in the "Plantation Review." Vodery had
replaced Tim Brymn as conductor.
26
Will Vodery, Florence Mills and Plantation group
Vodery continues writing and arranging for the Follies and
chooses 16 colored girls for the show. Vodery is busy
arranging for the show that opens on June 5, 1922.
At the Music Box Theater, for the show "Music Box
Review," he does the orchestrations for this venue du jour,
beginning on October 23, 1922. In April 16, of 1922 the show
27
"How Come" opens. After the show comes of the road,
Creamer and Vodery do additional numbers. Vodery not
only adds numbers but does the orchestration and is musical
director leading a pit orchestra of 20. He leaves on a tour of
Europe with the Plantation Review in late April.
Vodery spends the spring/summer in England with the
Plantation Review in the show "Dover Street to Dixie." He
leave the U.S. on April 28th, 1923. (He actually leaves in
early May.) He returns to the U.S. to New York on August 4,
1923. (Florence Mills book says the run was from May 31 to
September 1, 1923. In the fall he stays with Mills for the
season of the Plantation Review, the latest version named
"Dover Street to Dixie."
Still writing Vodery contributes music to the musical
"Kid Boots' with Eddie Cantor that is produced by Ziegfeld.
He continues to write and rehearse for the holidays at the
Plantation. Vodery shares in the orchestrations of the show
"Round the Town."
Vodery stays with Mills for the 4th season of Plantation
Review doing more arrangements and orchestrations.
28
For a memorial for his mother on the 10th anniversary of
her death, Vodery and his orchestra appear at the Central
Presbyterian Church in memory of his beloved mother.
During the year Florence Mills, with Vodery's
orchestrations, appears in a new act with a swing on the
vaudeville circuit.
The Vodery orchestra then appears in "Tan Town
Topics" at the Lincoln Theater with Ethel Waters and
Vodery's Plantation Orchestra; She plans to go into
vaudeville with Vodery in the pit.
In July Mills takes a break and Vodery and orchestra
appear in vaudeville at the Lincoln Theater for a week. Also
in July, the Plantation Review and Vodery are on radio (July
16th &the 23rd and August 4, 5, and 6th).
30
In August Mills with Vodery's orchestra is at the Globe
Theater.
Also in August of 1925 Vodery does the arranging and
orchestrations for the show "How's the King."
In September, 1925, Vodery writes music and lyrics for
a one-act comedy "Slick as Ever," a skit for vaudeville. Also
in September Mills and Vodery are at Keith's Theater in
Detroit and on to the Palace.
Variety Magazine states on Sept. 9th, 1925 Gershwin is
negotiation to do the score for a new Florence Mills show
"Anna from Savannah." The show also has music by
Vodery.
Mills opens in "Blackbirds of 1925" on October 30,
1925 but goes to new show around Thanksgiving. It is a
colored musical comedy. She is to appear in both her new
shows "Anna" and her new Plantation Review.
Next Vodery arranges dance music for the Earl Carroll
Vanities Orchestra.
Vodery's orchestra is still with Mills' Plantation Review
in "Blackbirds of 1925" from November to April.
In December Ethel Waters and Vodery's band appear
at Philadelphia's Forrest Theater for the annual Actor's
Fund benefit.
In January of 1926 Flo Ziegfeld opens a revue 'Palm
Beach Nights" at Club Montmartre with music by Vodery
and his and Art Hickman's orchestras. The show
"Blackbirds of 1926" sails for France on May 22 through
31
august. The troupe goes to London with Vodery's Plantation
Orchestra but Vodery is not with them. He is away from the
group for basically a year. Vodery does arrangements for
Ziegfeld's show with Friml doing the writing of songs. The
show is "No Foolin" with Vodery's orchestra.
On August 13, 1926, Vodery is shot in left arm in a
robbery in his apartment. The wound is not life threatening.
On March 18, 1927 Vodery travels to Europe and
returns on June 17. He returns to Southampton on July 5
and stays until late September taking over for Conductor
Shrimp Jones who had resigned conducting "Blackbirds of
1927." He returns to the US around June 17 but returns to
London remaining until mid September. He returns to New
York City on September 28th.
In October, 1927 he writes the choral arrangements for
"Show Boat.'
Vodery refuses bids between Fox and Keith Albee
bookers for the services of his orchestra. But Vodery doesn't
want to do Vaudeville and takes his orchestra into a Lew
Leslie night club.
In February, 1928, the show "Keep Shuffin" has
orchestrations all by Vodery with his Symphonic Band. In
April the one act comedy "Slick as Ever" opens with lyrics
and music by Vodery.
In May Vodery's orchestra is in the pit for Lew Leslie's
"Blackbirds of 1928" and Vodery is said to be working on
music for "Blackbirds of 1929."
32
1928
In October, 1928 Vodery does orchestration for Earl
Dancer's "Deep Harlem." In December Vodery contributes
music for the musical "Whoopee" with Eddie Cantor,
produced by Ziegfeld that runs for a year.
In 1929 Vodery presents "Swing Along." Cook is in the
pit while Vodery is with "Blackbirds." This may be
Vodery's last 'big' compositional effort.
Columnist Dave Peyton, after visiting New York City
wrote: "Will Vodery of New York is about the busiest
musician in the city. He is the master arranger for the
Ziegfeld interest and is much sought after by all branches of
the profession for his services. His office is at 1547 Broadway
which is the busiest place in New York."
In August of 1929 Vodery is still featured with his
Plantation Orchestra in "Blackbirds of 1929." His office is in
33
the Gayety Building a.k.a. the Gayety Theater owned by
George M. Cohen. It has been called the black Tin Pan Alley
for the number of African-Americans songwriters who rent
office space there.
Also in August of 1929 he does work on the show "Show
Girl' with "Mississippi" by Vincent Youmans.
In 1929 Vodery signs with Fox Film Corporation. He
has a three year contract. He is to be the general supervisor
of the music at a salary of $26,000 a year. He leaves for
Hollywood around October 15th. He begins writing music
for "New Orleans Frolic" but returns to Ziegfeld in 1930 to
take charge of all musical arrangements and the Ziegfeld
orchestra.
The follies of 1931 runs from July 1 to November 21,
with Rosemond Johnson and several colored members.
In February of 1932 Will Vodery's band is used in the
show "The Social Register."
In July of 1932 Florenz Ziegfeld dies. Vodery had
written for all Ziegfeld's shows whether they had colored or
white performers.
Vodery also wrote the music for "Shufflin" Stepin'
Fletcher's movies including: "Heat in Dixie,' "Salute" and
"Movietone Follies of 1929."
Vodery orchestras the ballet scene in "Such Men Are
Dangerous" in 1930. Vodery, Gershwin and other musicians
create song hits for the Fox Movietone reproductions.
34
Next, Vodery assembles 16 colored singers for the show
"Ballyhoo of 1938." His band, in October of 1932 appears in
a two reel "Broadway Brevities" with the Cotton Club
Chorus.
Called a new revival of "Shuffle Along of 1932" it is by
Sissle and Blake with Vodery doing the choral arrangements
as well as the orchestrations.
The Will Vodery singers next appear in the musical
revue "Strike Me Pink" starring Jimmy Durante. It runs
from March 4 to June 10. The singers appear in an Ethel
Waters show in Pittsburgh.
In November 1933, Lew Leslie's "Blackbirds of
1933/34" open at the Majestic Theater in Brooklyn with
arrangements by Vodery, Grofe and others. In the show is
an extended sketch scene "Mikado in Harlem" with
arrangements by Vodery. Ethel Waters recall in his auto
biography that Will Vodery wrote a jazz version of "The
Mikado" for a 1924 review of the Plantation club (Actually
in 1934).
In June of 1934 "Vodery writes a script and composes
special musical numbers that includes a minstrel show that
he trains and directs.
At the August 25, 1934 spectacle, the Negro Pageant at
the Chicago "Century of Progress Faire Vodery is a central
participant and performer.
"The Man from Baltimore" rehearsals are under way
in October, 1934. It is an all colored musical comedy.
Vodery, with others, is responsible for the book and lyrics. It
35
is 25 years that Vodery has written for Hurtig and Seaman
Productions.
In 1935 the new "Cotton Club Parade" begins on July
18, 1935 with tunes and orchestrations arranged by Vodery
and others. The Cotton Club closes its Harlem doors on
February 19, 1934. Vodery still does the Ziegfeld Follies of
1936/37 and contributes some orchestrations.
The Cotton Club, now located downtown on Broadway
has the "Cotton Club Parade" for its 400th performance. It
remains in 1937 with scores by Vodery.
Vodery does arrangements and orchestrations and
organizes a choir of mixed voices for the big musical
romance "Virginia" with black stars on Broadway from
September 2 to October 23, 1937. It was said to be successful
and making a big sensation but closed abruptly.
A choir of 50 voices is used by Vodery in the 3rd Cotton
Club Review and writes the score.
A new 1938 Cotton Club show, the 4th Cotton Club
Parade at the relocated Cotton Club, has music supervised
and arranged by Vodery with his choir. Ethel Waters and
the Duke Ellington Orchestra are in the show.
In October another edition of the Cotton Club Parade is
seen with Vodery's choir and his arrangements.
In 1939 the World's Fair edition of the Cotton Club
Parade has Vodery's choir. He does some arrangements and
orchestrations for 'The Hot Mikado" from March 23 to June
3, 1939. It is production of Michael Todd with Vodery as
musical director. For some reason Vodery walked out of the
36
contemplated Todd production after finishing but one
number for the show.
In November, 1939 Vodery arranges the 6th edition of
the Cotton Club Parade. He is working for the Cotton Club
as arranger and is musical director for the Cotton Club
Review. There is a 7th edition in the spring of the Cotton
Club Revue/Parade.
In the late 1930s Vodery moves to Saratoga, New York
and owns several lodges. He is also a restaurant proprietor
and provides accommodations for African Americans,
especially Negro performers. He opens a 'hot spot' nightery
with Brickhouse (Ada Smith) as chief hostess.
In May of 1942 Ed Sullivan presents "Harlem
Cavalcade" with Will Vodery directing and conducting the
music.
Newspaper Articles on Vodery
New York Age - March 12, 1908
Henry Creamer and Will Vodery have joined forces and
will hereafter produce musical compositions under the name
of Creamer and Vodery. They are writing for the Victoria
Music Publishing Company, which was very fortunate to
secure the services of so promising a team.
Creamer
37
Henry Creamer was a lyrist/songwriter of merit. His most
popular songs were: "After You're Gone," "If I could Be With
You," and "Way Down Yonder in New Orleans."
Brooklyn Daily Eagle - December 19, 1909 - "Girls From
Happyland"
William H. Vodery and Henry S. Creamer have written
some original melodies, among them "My Prairie Belle" in
which a big pony Ballet figures.
New York Age - July 26, 1910
M. Everard Dabney, formerly corresponding secretary
of the Colored Vaudeville Benevolent Association, and now a
member of the "Down in Dixie Minstrels,' writes that the
Rucker show is progressing nicely in rehearsals at the
Alhambra Theatre, in Chicago, and that Manager Collins
predicts that the 'Alabama Blossoms" will have the best
minstrel show ever put on the road. Will Vodery is said to
have written some pretty musical numbers.
New York Age - August 25, 1910 - Howard Theater,
Washington D. C.
The completeness of the new theatre is further
accentuated by an orchestra of eight, under the direction of
the well-known young musician 'Willie Vodery, who is billed
on the program as 'Prof. Will Vodery."
National Forum - September 24, 1910
38
Mr. Will Vodery, the talented musical director, is
preparing "The Sunny South Comedy," a musical vaudeville
act, which, after showing in America eight weeks, will play
return engagements in London for two months, and then go
to Berlin, Paris and the principal continental cities of the
continent. Mr. Vodery is an earnest student of musical art
and we may expect great things of him in the near future.
Washington Bee - October 15, 1910 - "My Friend From
Dixie"
In talking to Mr. Vodery he is entirely satisfied with the
chorus, and makes the assertion that he will have as good a
singing show as ever any colored company has had in our
city.
Washington Bee - October 15, 1910 - "My Friend From
Dixie"
The Howard Stock Company will make it known to the
patrons of this beautiful theater on Monday night, October
24th. In selecting this company to represent the Howard
Theater the manager has selected the cream of the
profession, who has been prominently connected with the
two big companies - Williams & Walker, and Cole &
Johnson.
Mr. Lubrie Hill is the producer. Mr. Hill is a song
writer, and gained fame as a composer of the ever-popular
song, "The Demonian Queen." He has written all of this new
39
comedy entitled "My Friend From Dixie" in which he is
associated with the musical director W. H. Vodery.
In talking to Mr. Vodery he is entirely satisfied with the
chorus, and makes the assertion that he will have as good a
singing show as ever a colored company has had in our city.
The entire company is now rehearsing day and night.
Washington Bee - November 5, 1910 - Howard Theater
"Black Promoters" music by Mr. w. H. Vodery
Washington Bee - November 5, 1910 - At the Howard next
week.
A grand Minstrel Carnival will be given by the Howard
Stock Company. This company has demonstrated to the
patrons that it contains a number of the cleverest
performers in the profession, and the show that will be
offered is bound to please all who will attend. Those who like
to see funny end men and hear those side-splitting jokes will
be given ample opportunity this coming Monday. Many new
specialties will be introduced, and everything will be of the
up-to-date character. The entire company will be seen in the
first part, which will be beautifully staged by J. Lubrie Hill.
New music has been arranged by Mr. W. H. Vodery. No
doubt large crowds will rule during the entire week. The
next attraction will be the new musical comedy the "Black
Promoters." Book by Mr. George Price; Lyrics by Mr.
Alonzo Govern; music by Mr. W. H. Vodery and Mr. J.
Lubrie Hall, staged by Mr. Hill.
40
Washington Bee - November 19, 1910 - Howard Stock
Company.
Mr. Will H. Vodery is the musical director, and is
considered one of the best musical composers and director in
the U. S. He was born in Philadelphia, Pa. and a graduate of
the Pennsylvania High School. He has been associated with
some of the largest musical combinations in the U. S. in
which capacity he has displayed marked ability. Mr. Vodery
is a very pleasant and agreeable musician. He has an
orchestra that is second to none. He will continue, no doubt,
with is orchestra.
Freeman - December 3, 1910 - Howard Theater Musical
Stock Company.
Prof. Will H. Vodery, the musical director, has
organized the men into one of the best melody producing
bodies that can be heard anywhere. His orchestral
arrangements are so superb and are rendered in such
harmonious unison that rousing applause is given at the end
of each selection.
New York Age - December 29, 1910
Monday the Howard Stock Company opened in a
musical show entitled "The Blackville Corporation," J.
Lubrie Hill writing the book and Will Vodery the
music...The Company gave a creditable performance
Monday evening. After this week the organization will go on
41
the road, appearing in many of the principal cities of the
South.
Washington Bee - December 31, 1910 - "The Blackville
Corporation"
The music for this play was written and prepared by
that well known and famous musical composers, Mr. Will
Vodery, the leader of the Howard Orchestra.
New York Age - January 12, 1911
Will Vodery has resigned as musical director of the
Howard Theater.
January 18, 1911 February 25, 1911
New York Age - January 19, 1911 - New show going some.
The "My Friend From Dixie Company" of which J.
Lubrie Hill is the star played Atlantic City the first part of
the week, the daily papers speaking highly of the show....The
music is by Will H. Vodery, for years director of this class of
show. Many white successes are using Vodery music under
42
different names, "The Time, Place and the Girl" being one
of the many.
Washington Bee - January 21, 1911 - "Friend From Dixie,"
a pleasing show.
The first appearance here last night of the latest colored
show at the Apollo, "My Friend From Dixie," was witnessed
by a large and satisfied audience. The play clings closely to
the American Negro, the opening scene being a Virginia
plantation with a host of happy darky boys and girls singing
and dancing to their heart's content. The next two scenes
carry into the colored society of Washington and give an
opportunity for dress. The costumes are well in keeping with
this scene.
J. Lubrie Hill, who for many seasons was character
comedian and producer, is responsible for the words while
Will H. Vodery who is known as the Sousa of the Colored
race did the music.
New York Age - February 16, 1911 - "My Friend From
Dixie"
Last week, "My Friend From Dixie" was a visitor in
Greater New York, sojourning at the Amphion Theatre,
Brooklyn, from Monday until late Saturday evening, leaving
for Baltimore Saturday. Although it was "My Friend From
Dixie's" first trip East, coming to this section of the country
a total stranger, nevertheless, our new acquaintance, who
possesses the happy faculty of making friends quickly, had
43
not been in tow many hours before being able to boast of a
host of admirers.
While "My Friend from Dixie" came to Greater New
York quietly, yet the visitor from the Southland was
accompanied by a retinue of more than thirty. Our guest
was somewhat disappointed because more colored citizens
did not pay respects, but the management of the Amphion
Theatre should be blamed for this seeming lack of courtesy
on the part of the colored residents. Advices were given
those having the tour in charge to announce the coming of
"My Friend From Dixie" in the colored papers. However,
the Amphion Theatre people did not think such a step was
necessary, believing that announcement in the white papers
was sufficient. They think differently now.
"My Friend From Dixie," the latest colored musical
show on the road, which is headed by J. Lubrie Hill, cannot
be classed with such productions as 'Mr. Lode of Koal" and
"The Red Moon," for it is not so ambitious an offering in the
matter of lavish scenic effect nor with reference to the
assemblage of talented Thespians. And yet, "My Friend
From Dixie" book and music by J. Lubrie Hall, ensembles
by Will H. Vodery can be pleasantly referred to and in a
complimentary manner.
New York Age - March 2, 1911
Will Vodery has been called upon this week to rehearse
three white shows playing in Chicago that have his music.
44
March 19, 1911
Atchison Daily Champion - April 8, 1911
Among the many Vodery song hits in the new colored
musical comedy, "My Friend From Dixie," are "Molasses
Candy," "Ever Lovin," "Summer Time," and "Going to
have a Good Time While I can." Mr. Vodery will conduct
the orchestra during the engagement here at the Atchison
Theatre Sunday, matinee and night.
In every city where the new musical it, "My Friend
From Dixie," has appeared the whole town has whistled Will
H. Vodery's ragtime song, 'Molasses Candy.' Hear it at the
Atchison Theatre Sunday, matinee and night.
45
August 17. 1911
Carnival and minstrel show of colored vaudeville
Benevolent Association. Harry Prampin's C. V. B. A. Band,
under the direction of Willie Vodery furnished the music
during the performances.
New York Age - August 24, 1911
Willie Vodery has signed to go with the Smart Set
Company as musical director.
Washington Bee - September 2, 1911 - "The Smart Set"
"The Smart Set," headed by S. H. Dudley, will
inaugurate its regular session on September 26, playing only
the large cities and going into the Majestic Theater, New
York, in the early spring for its usual New York run. The
new vehicle, which has been accepted by Mr. Dudley for his
entertainment this year, is entitled 'Doctor Beans from
Boston," and it gives promise of being an entirely different
style of play from anything ever before presented by colored
46
entertainers; in fact, it is called by the author, "a
pyrotechnical musical mélange." Mr. Dudley will be
surrounded by the strongest company ever assembled under
one banner and the production will be new and alluring in
every detail. Will H. Vodery will have charge of the musical
department. Rehearsals are already in progress.
March 20, 1912
Washington Bee - April 13, 1912 - "Dr. Bean from Boston"
was the role of S. H. Dudley, at the Howard Theater this
week-great crowds greeted comedian.
Monday night at Howard Theater was one of the
record-breaking nights for this playhouse. Mr. S. H. Dudley
and the new Smart Set Company was greeted Monday night
by a fashionable audience. This great comedian shows to a
great advantage in his new play. "Dr. Bean From Boston."
Those who have not seen this new Smart Set Company and
Mr. S. H. Dudley in his new play should not fail to do so. The
scenery is all new and beautiful. The choruses are by the
company and are good, especially the bathing chorus and
47
messenger boys. The latter chorus was recalled several
times. Miss Daisy Martin, Arthur Talbot, James Burrus, as
Bill Simmons, and Miss Ella Bevans deserve special mention.
This new Smart Set is no doubt one of the most expensive
shows upon the boards today. Mr. Will H. Vodery, the
famous musical writer and pianist is with the Smart Set
Company. The lyrics of this play are by Harry S. Creamer,
and the music by Mr. Vodery.
New York Age - January 30, 1913 - Miss Walker in new act.
Ada Overton Walker opened in her new act, assisted by
a number of singing and dancing girls, at Hammerstein's
Victoria Theatre Monday, and was one of the hits of a big
bill. Neither pains nor expense have been spared to make the
act scenically effective. Will H. Vodery is musical director.
New York Age - June 25, 1914 - A/OW. Tango Picnic/Dance
- FanTan Club.
Will Vodery will be musical director.
Cincinnati Enquirer - August 16, 1914 - Gayety, "Social
Maids"
Burlesque "Busy Little Cupid" Will Vodery composed
the special music.
Star Tribune - October 4, 1914
A brand new musical comedy, "Busy Little Cupid," has
been prepared for them by Leon Berg, who wrote the book,
and by Will Vodery, who composed the special music.
48
Evening World - January 23, 1915 - "Moulin Rouge Girls"
for Columbia Theatre.
A two-act burlesque called 'Girls of the Moulin Rouge"
will be presented at the Columbia Theatre. It was written by
John Rhains, with music by Will Vodery.
Freeman - April 3, 1915
Will Vodery, the popular musical director, song writer
and composer, was in Baltimore during the Smart Set
engagement. Mr. Vodery is one of the best known musicians
in New York City, and is in constant demand. Nearly every
New York production of consequence has one or more of
Mr. Vodery's compositions. With Messrs. Hurtig and
Seaman, Mr. Vodery has planned a revival of Earnest
Hogan's great show, "The Oyster Man." They expect to
open in early April for a run in New York City, afterwards
playing the large cities of the east.
New York Age - April 15, 1915
Will Vodery, 1232 Pine Street, Philadelphia, is
planning, it is reported, to revive Ernest Hogan's old show,
"The Oyster Man," in conjunction with Hurtig & Seaman,
to open about May 1 in New York.
Pittsburgh Post-Gazette - April 25, 1915 - Gayety-"The
Social Maids."
49
Joe Hurtig's 'The Social Maids" will be the attraction at
the Gayety Theater this week, with George Stone and Etta
Pillard in the chief roles. The big feature of the show is the
musical burlesque, "Busy Little Cupid," in which Stone and
Pillard have opportunities in abundance to display their
charming versatility. Leon Berg wrote the book of this clever
offering and Will H. Vodery composed the special music,
two facts which are sufficient guarantee of its excellence.
New York Age - September 30, 1915
At the Century Theatre, which opened last week under
the direction of Ned Wayburn in "Town Topics," one of the
features of the show being a chorus of one hundred, a large
orchestra composed of colored musicians, under the
direction of Will Vodery is employed.
In the book "Pioneers of Jazz" by Gushee, page 158, writes:
Vodery's "Ragphony" 31 piece orchestra, which, in
addition to appearing in the Polo Ground scene. (In Town
Topics) provided dance music on the mezzanine or on the
roof. "Variety" observed "a colored band furnishes dance
music upstairs before, during and afterhow, but so far no
one goes up there afterwards to hear it; nevertheless,
mention of the Ragphony Orchestra disappeared from the
Polo Grounds scene in a program for the October 14th
performance. (The Ragphony Orchestra was led by Will
Vodery, a very famous musician, composer and arranger
who arranged "Blue Monday' by Gershwin and the choral
50
work in "Show Boat."
Variety - August, 1916 - The Rag Doll in Ragland
All the music has been especially written by Will H.
Vodery (music) and Mr. Smith (lyrics). The songs will be an
attraction. Several are really meritorious, and when
considering that a burlesque show of this size and number of
songs has not a single published song in the list, that should
mark an era in burlesque, since the music of "The Rag Doll'
will last. "Rag Me to Ragland with You, Dear" is a very
good song in its class; "Pretty Dollie" is another and the
"Dollie" number is about the only one which could be
claimed to be over-reminiscent; "Be My Little Honolulu
Lulu" is like and 'Marcella" early i the show sounded as well
as the best of the others, although "Give Me the Right to
Love You" arriving late and un-programmed might be
called the straight song hit of the production.
"Yah-diddily-um-tum-tum is a staged number with
Peggy Du Pont leading 12 girls seated on a fence, holding
slates. This bit, with one or two other things in the show,
suggest the :Kid" musical plays of the past, such as "The
Wizard of Oz,' but the "Tum-Tum" song makes a first class
chorus girl number, the choristers swinging their bare legs
to the rhythm of the number, each setting a chance to sings a
list of childhood days verse. The show having a nice
ensemble for vocalizing, the members get their full worth.
51
June 1917
Evening Star - May 29, 1918 - "Social maids"
The Gayety Theater, for next week announces the best
of Joe Hurtig's high-class burlesque offerings. "The Social
Maids," headed by George Stone and Etta Pillard, noted
dance exponents, in "The Boys from Home," a new musical
burlesque by Leon Berg, with music by Will H. Vodery.
Baltimore American - January 6, 1920 - "Midnight
Maidens" - Gayety.
The Burlesque amusements Company's production,
"Midnight Maidens," is the week's offering at the Gayety
Theater. This attraction, which is replete with tuneful
numbers and plenty of action, is headed by George Niblo
and Helen Spencer, the cyclonic exponents of modern
dances. A musical burlesque, "The Boys from Home,"
written by Leon Hurtig and composed by Will H. Vodery.
Evening Star - December 4, 1921
52
The Shuberts', by arrangement with A. H. Woods, will
present Bert Williams, the colored comedian, in a new
musical comedy, "Under the Bamboo Tree," the books and
lyrics of which are by Walker de Leon and the music by will
H. Vodery. It will be given a brief tour before presentation
in New York.
Variety - January 13, 1922
Will Vodery, the colored arranger and composer, has
been appointed bandmaster of the 15th Regiment, New York
National Guard, to succeed the late James Reese Europe
with the appointment goes a second lieutenancy commission.
Plain Dealer - February 16, 1922. - Dusky comic and others
next week.
The dusky Bert Williams, famed of many "Follies"
comes to the Hanna next week under the Shubert aegis in a
musical comedy, "Under the Bamboo Tree." The piece hails
most recently from Chicago and is destined for Broadway. It
is the work of Walter De Leon, who wrote the book and
lyrics, and Will H. Vodery who is accountable for the music.
The latter, incidentally, won a two-year scholarship in
the Paris Conservatory of Music by submitting the best
musical composition proffered by a band master in the
foreign army during the late lamented war. J. C. Huffman,
who is responsible for the inter setting details of most of the
Al Jolson shows, staged the piece.
53
All of the action occurs in a summer resort off the
California coast. The story, vouches the press agent, is
whimsical and consistent and the music is sprightly.
Variety - July 26, 1922 - Plantation Review
The first section held Will Vodery with his band and the
other features of the show Vodery remained on the stage for
a time after his band specialty, then took to the pit. The
house really had no provision for an orchestra, and the
musicians were actually under the stage. For the revue
section itself Vodery's crew were on one side of the picket
fence of the single levee act.
Variety - April 5, 1923 - Colored show - Guarantee $4,000
weekly for "How Come" at Selwyn, New York.
"How Come," the colored revue, scheduled to open at
the Selwyn, New York, April 16, is guaranteeing the house
$4,000 weekly for four weeks with Ben Harris, a New York
and New Jersey lawyer, financing the show as he has from
the start. The production, the most pretentious of the
colored show cycle, carries 70 people, including the
orchestra. Will Vodery and Henry Creamer are currently
rewriting it from the original by Chappell & Hunter.
Variety - June 14, 1923 - Dover Street to Dixie
The colored organization seemed a veritable triumph at
the premiere. Standing to one side modestly and practically
effacing himself and his orchestra. Will Vodery contributed
54
in no minor degree to the general success of the Plantation
artists. Every number was violently encored, while Florence
Mills was accepted as an individual star that will, hereafter,
be sure of a welcome n London.
January 1924
Pittsburgh Courier - February 14, 1925 - Will Vodery's music
career. Bert Williams was responsible for Philadelphia boy's
start.
Will Vodery of the "Dixie to Broadway" Company
starring Florence Mills opening a two weeks engagement at
the Lyric Theater tomorrow evening, was born in
Philadelphia in 1885. He attended the Central High School
here, where he won a scholarship. He selected music instead
of an academic study at the University of Pennsylvania. He
never intended music to be is means of making a living, but
took it up because he thought music should be an
accomplishment that everyone should have. While attending
the University he organized several orchestras that became
55
fairly well known here. He then studied the piano and violin
under Louis Koemminich, a well known teacher.
Vodery blames his entrance into the musical field
professionally on the late Bert Williams. Whenever Williams
played in Philadelphia he stopped at Vodery's house. One
day, after hearing Vodery play, Williams told the lad that he
had exceptional talent and brought him to New York. His
first show was a musical comedy entitled "A Trip to Africa."
that took him to Chicago and left him stranded there after a
short run. He then got a position with Charles K. Harris'
Chicago office as arranger and professional manager. While
with Harris, Vodery became custodian of the Theodore
Orchestra and studied with Fredrick Stock, who was concert
master with the orchestra. Vodery then wrote the music of
"The Isle of Bong Bong" for Mort Singer. It was shortly
after this that Bert Williams sent for Vodery to come back to
New York to write the score for a new show, and also to
conduct the orchestra. Vodery then wrote, "The Oyster
Man" for Ernst Hogan. Hurtig and Seaman took over Ernst
Hogan and Vodery went along. He wrote the music for eight
shows that the produced.
When Williams went with the Ziegfeld Follies he
commissioned Vodery to write his songs. In this way Vodery
attracted Ziegfeld's attention and the following year Vodery
wrote the score for the Follies. Since that time he has been
connected in some way with the Follies each year.
During the war he took charge of organizing bands in
the army. He was nine months at Camp Dix, and then "went
56
across" with the 80th, a colored regiment. later the 807 the
Regiment Band was selected by Lieutenant General Liggett
as the best band in the A. E. F. The general then had Vodery
sent to Chaumont, the general headquarters of the
bandmasters and the school Vodery attended and graduated
with honors and won a scholarship to the Paris
Conservatoire.
Pittsburgh Courier - February 28, 1925
The sacred concert rendered by William Vodery's
Plantation orchestra in memory of his mother was an
inspiring and effective scene, and will stand as a living
reminder to other boys that, however high or low their
station in life, they still owe something to mother's memory.
Pittsburgh Courier - April 4, 1925
The mammoth reception is being given in honor of Miss
Mills, her company, Will Vodery, famed leader of the band
with the company, and Johnny Dunn, the world's greatest
cornetist. Part of the proceeds of the affair will be turned
over to charity, it has been announced, and Will Vodery's
famous orchestra, with Johnny Dunn in their midst, have
consented to play the music from 11 p.m. until 3 a.m. when
the affair will close.
57
Johnny Dunn
World's famous originator of trumpet tricks is a
sensation on two continents. Dunn played in private with
Will Vodery's Band before H. M. King George, Princess
Mary, H.R.H. Prince of Wales, Duke of York and the Crown
Prince of Sweden. Johnny Dunn's original Jazz Band,
exclusive of Columbia records, is bringing out a new
Christmas hit, "I Promised Not to Holler, but Hey, Hey,"
and "Jazz Baby Blues," bigger than "Four O'clock Blues,'
published by Clarence Williams.
Johnny Dunn claims he is the world's champion
original trick cornetist and is will to meet contestants.
Dunn was considered the top cornetist in New York
prior to Louis Armstrong and lived in Europe the rest of his
life.
58
Pittsburgh Courier - April 11, 1925 - Will Vodery took
music as sideline.
Will Vodery, of "Dixie to Broadway" Company, which
Lew Leslie will present at the Shubert Pitt commencing
Monday evening, April 6, direct from a long successful
Chicago, Boston, New York and Philadelphia engagements,
was born in Philadelphia in 1885. He attended the Central
High School, where he won a scholarship. He selected music
instead of an academic study at the University of
Pennsylvania. He never intended music to be his means of
making a living, but took it up because he thought music
should be an accomplishment that everyone should have.
While attending the U. of P. he organized several orchestras
that became fairly well known in Philadelphia. He then
studied the piano and violin under Louis Koemminick, a
well-known teacher of music.
He blames his entrance into the music field
professionally on the late Bert Williams. Whenever Williams
played in Philadelphia he stopped at Vodery's house. One
day, after hearing Mr. Vodery play, Williams told him that
he had exceptional talent and brought him to New York. His
first show was a colored musical comedy entitled "A Trip to
Africa." that took him to Chicago and left him stranded
there after a short run. He then got a position with Charles
K. Harris' Chicago office as arranger and professional
manager. While with Harris he became custodian of the
Theodore orchestra. He studied with Frederick Stock, who
was the concert master with the orchestra. He then wrote
59
music of "The Isle of Bong Bong" for Mort Singer. It was
shortly after this that Bert Williams sent for him to come
back to New York to write the score for his new show and
also to conduct the orchestra. He then wrote "The Oyster
Man" for Ernest Hogan.
Hurtig and Seaman then took over Ernest Hogan and
Vodery went with him. He wrote the music for eight shows
that they did.
When Bert Williams went with the Ziegfeld Follies he
commissioned Vodery to write his songs. In this way Mr.
Vodery attracted Mr. Ziegfeld's attention and the following
year he wrote the score for the Follies. Since that time he has
been connected in some way with the Follies each year.
During the war he took charge of organizing bands in
the Army. He was nine months in Camp Dix, and then
"went across" with the 807th, a colored regiment. Later the
807th regiment band was selected by Lieut. General Liggett
as the best band in the A. E. F. The general then had Vodery
sent to Chaumont, the general headquarters of the A. E. F.,
and also the headquarters of the bandmasters and the
school. Vodery attended this school, graduated with high
honors, and won a scholarship to the Paris Conservatory.
Upon returning to America he wrote the music for Bert
Williams' show, "The Pink Slip," which was produced by A.
H. Woods.
In 1922 he was engaged to organize his own orchestra
for the Plantation Club, one of the very smartest cabarets in
New York. Except for a short stay in Europe, where he was
60
very successful, he has been at the Plantation until it closed a
few months ago.
May 16, 1925
Variety - April 22, 1925 - Florence Mills next week.
61
Florence Mills, with Will Vodery and his orchestra will
open a tour of the Keith Albee houses next week at the
Hippodrome, New York. The colored act will receive a
reported salary of $3,000 weekly. In addition to Vodery and
his musicians a chorus of eight will be included in the turn.
It will be similar to the cabaret revue done by the same cast
at the Plantation, New York.
Variety - May 27, 1925 - Will Vodery Orchestra -
Hippodrome, New York.
Will Vodery has been with Florence Mills for some
time, dating from the Plantation cafe into the "Dixie to
Broadway" production (pit) now in vaudeville. As a stage
band, this colored combination delivers plenty. It is a well
balanced frame-up, rather imposing as to personnel that
includes three brasses, 3 reeds, two violins, bass, banjo,
piano and drums. Vodery conducts thereabout. There is a
corking torrid trumpeter, Johnny Dunn, who has made solo
recording for the disks. He is fancy & showmanship in h is
work. The band has always been a good dance combination
and can probably produce above average "hot" dance
numbers for the records.
62
May 31, 1925
Boston Herald - June 2, 1925 - "Dixie to Broadway" star in
one of many good acts.
At B. F. Keith's Theatre this week the bill includes
Florence Mills, the little star of "Dixie to Broadway."
Miss Mills, Will Vodery, riotous cacaphonists, Johnny
Dunn, and his blasting and sobbing cornet, Johnny Nit, the
nimble dancer, and the eight dusky steppers all have good
acts. Miss Mills' dancing is irresistible. Will Vodery's
orchestra is a plastic organization, responding to his every
mood. Johnny Dunn and his cornet are working overtime.
63
While Florence Mills is taking a rest, following her
appearance at the Palace last week with the Will Vodery
Orchestra, the members of her act are doing a vaudeville
whirl on their side.
With Miss Mills out of the act, manager Snyder of the
Lincoln (Harlem) arranged for a special booking for the Will
Vodery musicians, headed by Will Tyler, leader and Johnny
Dun, cornetist to play his house, wit Alma Smith (Miss Mills
understudy) as singing comedienne and Johnny Nit as
principal dancer. In addition to the Vodery musicians, there
is also a musical unit led by Duke Ellington.
Scranton Republican - August 1, 1925 - Big Jubilee week at
Capitol Theater.
This will be August Big Jubilee week at the Capitol
Theater. Florence Mills and Company will provide the
headline act....Will Vodery's famous Plantation Orchestra
with Johnny Dunn, the hottest cornetist who has been heard
here and Johnny Nitt, the nimble-footed lad. Will Vodery's
band, when it was first heard, was instantly acclaimed as one
of the most noteworthy organizations of its kind in existence.
Variety - September 9, 1925
A new cafe Park Avenue Cafe at 56th Street will be
opened by Lew Leslie the same night the colored revue opens
on Broadway. The cafe will be known as the Black Bird. It
will have Miss Mills and the Will Vodery band from the
show as the attraction.
65
Variety - September 16, 1925
Will Vodery has two bands under his supervision and
may launch others before many weeks. One that he conducts
himself is the musical feature of the Plantation Revue, 50th
Street and Broadway. The other, bearing his name is with
the Florence Mills act in vaudeville, now in the west.
Pittsburgh Courier - August 21, 1926 - Will Vodery shot.
Will Vodery, leader of the Ziegfeld Roof Garden
Orchestra was shot in his apartment in Forty-ninth Street,
near Broadway, early last Friday morning by a would-be
robber, it is reported in theatrical circles.
Great secrecy surrounds the shooting, but one of Mr.
Vodery's uptown secretaries admitted he had been shot,
although she refused any further information. Theatrical
men close to Vodery say a burglar entered his apartment
and attempted to rob him of several valuable jewels, and
when Vodery showed resistance the burglar opened fire, one
of the bullets taking effect in the musician's left arm. At
Vodery's offices on Broadway and Forty-Sixth Street
nothing could be learned of his condition. It is generally
thought not to be serious, however.
New York Age - April 2, 1927
Bill Vodery is in London to take charge of the
Blackbird Revue now playing at the Pavilion Theater.
66
Variety - June 8, 1927 - Lew Leslie-White Birds
Will Vodery does the orchestration.
August 1927
Pittsburgh Courier - January 14, 1928 - Will Vodery with
Leslie.
Although there was spirited bidding between Fox and
Keith-Albee bookers for Will Vodery's orchestra, with Fox
giving the colored aggregation several weeks in New York
with other time offered, the act turned down all further
vaudeville time to go into the night club that Lew Leslie is
promoting here.
Evansville Courier and Press - January 9, 1930
That Will Vodery, a colored composer, actually
discovered George Gershwin, our foremost tune builder.
Through Vodery, Gershwin reached the notice of Ned
Wayburn, who not only hired him for the rehearsals of
"Miss 1917" at the Century Theater but retained him on
salary after the premiere. Shortly after, Gershwin was
signed by Harms.
67
Variety - June/Sept., 1933
Vitaphone reel shown including "Rufus Jones for
President" starring Ethel Waters with Sammy Davis and
will Vodery Girls.
Negro Star - August 24, 1934 - Foremost Arranger
Members of his race have known little of Will Vodery
except for his reputation as a master craftsman among
musicians. The late Florence Ziegfeld years ago drafted Mr.
Vodery to arrange the orchestrations for the Follies. Later,
he was called by Hollywood for "O, Sing a New Song," The
World's Fair pageant in Chicago, August 25. Mr. Vodery
has again been called to add the touch of his genius.
Plaindealer - August 3, 1934
Plans are proceeding rapidly according to the
promoters, for the staging of a gigantic pageant under the
title "O Sing a New Song' at the "A Century of Progress"
August 25th....The pageant which is expected to depict
various phases of the life of the Negroes in America will be
replete with song and among the out-standing musicians
who are helping to fashion it are Will Marion Cook, Noble
Sissle, William Lawrence Freeman, Will Vodery and N.
Clark Smith.
Plaindealer - April 6, 1934
Will Vodery master musical arranger, director and
orchestra leader, who has closely connected with Florenz
68
Ziegfeld for a number of years is one of the best musical
authorities on Broadway. His advice and criticism are highly
respected by the greatest producers of musical comedies in
New York, as well as in the picture colony of Hollywood. His
special arrangements have been highly appreciated in the
musical world, especially in the Ziegfeld Follies and as theme
songs of noted talking pictures. He is a native of
Philadelphia, Pa., and began his career as an associate of
Bert Williams, one of America's most famous actors.
Variety - March 23, 1938 - Cotton Club
4th edition of the Cotton Club Parade with duke
Ellington, Will Vodery, echoes choir figures importantly,
does equally well on musical supervision and orchestration.
New York Age - May 2, 1942 - Broadway has first Negro
musicale in the past 12 years.
'Harlem Cavalcade" is the first all-Negro vaudeville
revue to come downtown to Broadway since "Blackbirds."
This is twelve long years ago.
Bill Vodery is known throughout music circles in New
York as the man behind-the-scenes of modern jazz. Bill is
not too well known to the public. Those who read George
Gershwin, the Sheep and Goats Club had the member the
one long and important bow that Bill got therein. Gershwin
credits Bill with no less an achievement than having been
largely responsible for introducing the author of "Rhapsody
69
in Blue" to the music world. That was 1917, and Bill Vodery
was music director for Florenz Ziegfeld from 1910 to 1923.
The start of Bill Vodery's career was due to the Castles.
In 1900 the Castles, Mr. and Mrs., had introduced a
dance known as the fox trot. Considered tame today, it was a
great novelty then. Reason was that all the American public
had known of dance music up to that time were European
importations of the waltz.
The fox trot became a rage and Broadway producers of
waltz time musicals were left stranded. The Castles had
virtually a monopoly on this dance. Until Florenz Ziegfeld
discovered that Bill Vodery could sit down and transpose
into fox trot time even the most languid waltz. Vodery's gift
for orchestration soon made him one of the most important
men behind the scenes of the successive and successful
Ziegfeld revues.
Vodery was also associated with the comedy team of
Williams and Walker. a graduate in 1904 of the University
of Pennsylvania, Bill Vodery-with a knack for knocking out
tunes on the piano, clarinet, French horn and a few other hot
instruments-stepped right into the popular music world.
Vodery saw a series of hit dances develop; Turkey Trot, half
and Half, Black Bottom, Ballin' the Jack and Eagle Rock.
They were all fore-runners of today's boogie woogie and the
Shag.
In 1921 "Shuffle Along" flared on Broadway as the first
all-Negro hit musical. Bill Vodery did the music for "Shuffle
Along."
70
Such tunes as "I'm Wild about Harry," "Love Will
Find a Way" and "Gypsy Blues" emerged. Bill Vodery was
responsible.
The cast of "Shuffle Along" was like a who's who of
Negro entertainers who later became famous.
There was Paul Robeson and Josephine Baker. Miss
Baker was a chorus girl. And Catherine Jarboro, Hall
Johnson, William Grant Still, Florence Mills. Another
chorus girl was Freddie Washington.
One of the numbers in the new Harlem Cavalcade
which is to be 1942's "Shuffle Along," will be a review of this
native music and the dances associated with each musical
period. In the orchestra pit will be venerable Bill Vodery-no
youngster today- to see that every detail will be a faithful
reproduction.
Pittsburgh Courier - July 30, 1932
Will Vodery, noted musician and close associate of the
late Florenz Ziegfeld, who with his partner, the late Bert
Williams, opened offices in the Gaiety building on Broadway
25 years ago. They both became connected with Mr. Ziegfeld
and their close friendship and service to one another has just
been severed by the death of the famous "Glorifier of the
American Girl." Ziegfeld not only glorified the beautiful
girls, but glorified anyone with whom he became associated.
Mr. Vodery mourns the untimely loss of his true friend,
Florenz Ziegfeld.
71
Pittsburgh Courier - December 1, 1951 - Composer Will
Vodery buried: famous as to-notch musician, with Ziegfeld
for twenty years.
The death last week of Will H Vodery snuffed out a
career that was an integral part of American music. The
brilliant composer and arranger contributed as much as
anyone to jazz classics and created awareness to Negro
musicianship.
Mr. Vodery was 67 at the time of his death in
Kingsbridge Veterans Hospital. He had been admitted only
five days before.
Born in Philadelphia Oct. 8, 1884, he was the son of
Rosanna and Will Vodery. It was in his mother's boarding
house there that he met the famous Bert Williams. In later
years he did much of the arranging and orchestration that
made the comedian one of the great stars of the Ziegfeld
Follies.
Twenty Years with Ziegfeld
He was composer and arranger for Ziegfeld for twenty
years. He was to a great extent responsible for the successes
of George Gershwin, Fannie Brice, Paul Robeson and many
others.
"Darktown Poker Club," one of Vodery's most popular
numbers is still being sung regularly by radio's Phil Harris.
During World War I Mr. Vodery joined the Army,
became a lieutenant and bandmaster at the school in
Chaumont, France, which trained musicians in conducting.
72
After the war he returned to Ziegfeld and did the music for
"Whoopee" "Miss 1917" and "Show Boat.'
With Twentieth Century
For a number of years the musician was an arranger
with film land's Twentieth Century Fox.
Mr. Vodery's formal training was at the Chicago
Institute and in Philadelphia.
Among his close friends and associates were Oscar
Hammerstein, Noble Sissle, Ziegfeld, Gershwin, Duke
Ellington, Florence Mills, Williams, Jerome Kern, Don
Voorhees, Billy Rose, Fannie Brice and hundreds of others
for whom he helped with musical educations.
Making his home in New York at 619 West 141st Street,
Mr. Vodery also owned properties in Saratoga, N. Y.
Survivors include a son, Will Vodery Jr. and a cousin,
Harry Vodery, of Albany, N.Y.
Times Picayune - June 19, 1983
Eubie Blake recalled getting testimonials on Gershwin
from James P. Johnson and Luckey Roberts, and named
Will Vodery who gave the young Gershwin encouragement.
In return, Gershwin asked Vodery to orchestrate a one-act
opera, 'Blue Monday," which was unsuccessful even when
revised and re-titled "135th Street
73
Variety - October 2, 1929
At last Will Vodery, colored musical arranger, who has
done the work for all the Ziegfeld shows for years, has fallen
for the talkers. Will has received oddies of offers but turned
them down. Somebody tipped Fox that Vodery would prove
a very valuable man in arranging music for some of his big
musical pictures yet to be made and word was sent to bet
Vodery. Vodery signed a three-year contract on a scale that
was beyond his wildest dreams. His first year salary will be
$35,000 with that amount to be increased the second and so
on. It is understood Vodery does not sever all ties with the
Ziegfeld office, yet it is arranged that Vodery will depart this
week to take up his new duties on the Fox lot on the west
Coast.
74
John Spriccio
One gifted musician, John Spriccio loved jazz for its own sake and
reveled in 'blues' and tricky syncopation. He taught his violin pupils what we
now call jazz long before it won a place in the sun - now comes the daybreak
of jazz. Yellow Nunez, who had began guitar player for John Spriccio, the
daddy of jazz. Old John Spriccio known's all the music of the darkies. (Page
10)
In 1916 Brown's Band from Dixieland came to Chicago direct from New
Orleans, and with it came tutor Spriccio. They knew all the old Negro
melodies with the variations taught by Spriccio. (Kingley, 1918)
Laine had known of the young Nunez who played a tin-whistle and
eventually changed to guitar, the instrument he began on when the first
played with an organized group led by John Spriccio, an early music teacher
of 'jazz.' (As stated in an article in the New York Dramatic Mirror of Dec. 14,
1918)
Bert Kelly is the jazz pioneer north of the Mason-Dixon Line. He knows
more about jazz than any man living outside of the famous jazz professor of
New Orleans, John Spriccio, the veteran violinist. All the famous jazz artists
in the U.S> have imitated him or his pupils. He was playing jazz and 'blues' a
generation before they reached Chicago
Kelly and his "Frisco Four" were dubbed a "Jazz Band" in 1915, as
already stated. In 1906 Brown's Band from Dixieland came to Chicago, direct
from New Orleans. They knew all the old Negro melodies, with the variations
played Spriccio and once Kelly heard them he knew that jazz and "blues"
were going to be popular, so he signed up clarinets and cornets that jazzed.
This bunch from New Orleans played by ear entirely (Gushee - Black Music
Journal, Vol. 14, #1, Spring 1994
75
My Opinion on Some things
Blindness and other things
Lacoume's blindness - 1
Jazzmen's quote - 2
First jazz Band - 4
How did jazz begin - 6
Time Line for Stale Bread Lacoume- 10
Conclusions - 12- 19
Jazz from Africa - 20
Alberto Chiaffarelli - 23
Stale Bread's Blindness
When did Lacoume go blind? There are many mentions of
his blindness that give a different year that this happened.
The problem is that Lacoume blindness was not a sudden
thing, but he began to lose his sight gradually, beginning as
early as 1899. There is no evidence that he was totally blind.
The 1917 draft card list him as blind so he was not drafted. He
was sent to Hot Springs Arkansas in 1904 to get help with his
eyes. There was a benefit for him in 1901. He visited the
mayor's office blind in 1901. He was going blind when
entering Mrs. Wright's school in 1903.
My conclusion is that Lacoume was beginning to go blind
in 1899 and his eye sight deteriorated in the years to follow. In
76
1906 Lacoume would be 21 years old and no longer leading
the band. In 1906 Gregson became leader of the band.
After 1906 the band is no longer called Stale Bread's Spasm
Band. In 1913 Hennessey is listed as leader of the band. In
1910 Lacoume is mentioned as having on orchestra. Lacoume
would have a number of years to have studied a 'legit' musical
instrument and began to take 'gigs' as a 'legit' musician on the
guitar and piano. He is listed in 1913 as playing piano at
various New Orleans clubs. Thus began his career as a
'legitimate musician.
The authors of 'Jazz Men' concluded that the Spasm Band was
not a jazz band and they put the beginning of the band in
1896 when it really began around 1894-95. Stale bread was
going blind in 1899 at which time there was a benefit for him.
I don't know about Lacoume only playing in the district
when he learned to play legitimate instruments. There are
accounts of the band playing in the district much earlier.
Perhaps they meant the Tango Belt as part of the district. And
there is account of the Spasm Band playing as early as 1894-
95. Albert Montlugin is mentioned as a member of the band.
Jazzmen - Ramsey, Russell & Smith (page52-53)
77
"Stale Bread played in the district (meaning the tango
belt) but only when he'd learned to play legitimate musical
instruments. A lot of nonsense has been talked about Stale
Bread and his Spasm Band. Jazz didn't come from toy
instruments, no matter how quaint or colorful this street
corner band sound to the tourist trade. A great many New
Orleans musicians did begin their careers on something
conjured out of odds and ends that made sound. Rapp's was a
one-string violin, made with a cigar box. Stale Bread himself
didn't play a toy instrument but he did make a business of
what others confined to the back yard.
In 1896 Stale Bread got together his first band, years
before Rappolo was born. He himself played zither but the
line-up is so raggle-taggle that it might as well be listed:
Stale Bread (Emile August Lacoume, Sr.), zither; Cajun
(Willie Bussey), harmonica; whiskey (Emile Benrod), bass
constructed from half-barrel, string with clothes-line wire and
played with cypress-stick bow; Warm Gravy (Cleve Craven),
four-string, cheese-box banjo; slew-foot Pete (Albert
Montluzin), soap box cut down to make a four-string guitar.
With these crude instruments the boys dished out home
cooking for Doc Malney's Minstrel show. They continued
playing, one job following another, until 1901. In that year
Stale Bread went blind from an eye infection. By 1903 he was
78
back in the music business and the band was practically
legitimate:
Stale Bread (Lacoume), zither and piano; Dolly (Charles
Carey), string bass, Dude (Jimmy Lacoume), banjo; Sonny (?),
guitar & mandolin' Sweet Potato (Harry Carey), tambourine &
cornet.
Within a few years Stale Bread was playing on riverboats,
sometimes with Lawrence Veca, of who he commented, 'he
was a real musician.' One job was on Basin Street at Toro's,
with Harold Peterson on drums. Years later, when he played
at the Halfway House with the Brunies and Rappolo, Stale
Bread played banjo. He liked people to think of him as a
musician, not as a blind man playing music. He wore dark
glasses and most of the time no one seemed to notice it. The
boys didn't read music, anyway.”
First Jazz Band???
Should the Spasm Band have been named the 'first jazz
band? This naming of the Spasm Band is first found in an
article by Mr. Huguenot in an article in the Times Picayune on
March 2, 1919. Many writers in later years quoted this article
and it became 'fact' that the Spasm Band was the first jazz
band. Emile Lacoume began his association as the leader of
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this band in 1895. He went blind in 1899. A benefit for him
was held in 1900. In 1901 he traveled to Hot Springs, Ark. to
have a specialist help with his blindness but to no results. He
entered Mrs. Wrights School in 1903 and it is stated that the
band was playing 'legit' instruments at this time. It is stated
that in 1906 Harry Gregson became leader of the band.
Lacoume was still in school in 1909. In 1901 it was mentioned
that he was noted as having the 'Stale Bread orchestra. The
name 'Razzy Dazzy Spasm Band first mentioned in 1909 with
Gregson as leader. The last mention of the band was in 1910.
In 1911 it is mentioned the new leader of the band was Robert
Hennessey. Gregson had joined the police dept in 1905. In
1913 Lacoume was playing piano in clubs around New
Orleans. In 1920 he was playing in the Halfway House Band.
He continued to 'gig' playing piano in clubs. In 1923 he was
playing at the LaVida Dance Hall. In 1929 there is mention of a
Lacoume Blue Moon Orchestra.
In 1943 Lacoume had a crippled right hand. In 1946 he is
mentioned being a program seller at the Fair Grounds.
Did Lacoume continue to play as leader of the 'Spasm
Band' when he went blind? It would be hard to lead a street
band when blind. By 1899 he would have been 14 years old. It
was Gregson who was then was leader of the band that was
closer to "jazz' then the earlier band and in 1903 they were
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playing "legit" instruments. An article remarked that ' the first
jazz band was organized by Harry Gregson, its leader and
called the Razzy Dazzy Spasm Band. Bolden's band was well
established by 1897.
Is there more evidence of the Spasm Band except the
article of March 2, 1919? I think that the first Spasm Band of
Lacoume was not a "jazz" band and that writers mixed up the
first Spasm Band with the 'Razzy Dazzy Spasm Band' which
was led by Gregson. By the time that Gregson had the band as
a "legit' Band in 1909 it was just one of many bands that
played jazz.
The Spasm Band of Lacoume was not the first jazz band
and was misnamed and accepted with only the mention of
this band in 1919, and that description was not accurate.
How did Jazz begin?
To begin with it is impossible to date when an art form
began. One does not know how music began. Common sense
tells us that it was not on purpose but an experiment in
sound, perhaps used as a signal as a warning of danger.
The music that was present at the beginning of jazz
(around 1900 or earlier) was: classical, opera, military music
and dance music. In New Orleans all of the above were
present and the citizens were exposed to these styles. There
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were very professional musicians as well as amateurs playing
music. These amateurs were not performing opera and the
military bands were mostly reading musicians and very
capable. Jazz was influenced by these styles but their main
interest was performing their musical jobs. The elements of
jazz were not used at first in marching or funeral bands. These
early dance bands did not give concerts. Most of their jobs
were dance jobs, playing for picnics, ballyhooing in the streets
and other odd jobs needing a band. During this era (the turn
of the new century) dancing was a very popular activity. In
New Orleans there were more requests for dance bands then
there were bands, thus the need for musicians. There is much
information on a person who was asked to join a band that
did not have very much skill as a musician. When they joined a
band many times they would be faking more notes than they
knew. When a part was not well known the person would
'fake' the notes. Then rhythm was furnished by a 'trap' drum
set and kept the rhythm study. While ragtime was present
with its syncopated style, this syncopated style was popular
during this time. The new musician often was struggling with
his instrument and thus (not being a schooled musician)
would either come in early or come in late. The 'faking' of a
musical part was the beginning of jazz. It was not one person
or band but a number of bands in New Orleans played in this
manner. Solo improvising was not present. Many club owners
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would ask why a musician was not playing. This probably was
due to the length of time bands played in this era. Often they
played from the early night to almost dawn. The cornet player
would need a rest for his lip. Another horn would cover for
him and perhaps try to play his part, not the way that a cornet
player would play but an attempt to duplicate his part. He was
not able to duplicate his part exactly but 'faked' through a
chorus with his performance covering the cornet's part not
exactly, thus this 'fake' improvising was played with rhythm
and syncopation by a musician trying to 'fake' the leading
part. It was not until Armstrong played solos with the Oliver
band that 'true' jazz as we know it was born. Buddy Petit was
noted for his ability to improvise a second part and other
rather 'unskilled' musician did the same. Petit' was imitated
by many other New Orleans musicians including Armstrong.
The Ballyhoo wagons and the bands playing at the resorts and
camps around Lake Pontchartrain heard other bands and had
bucking contests and listening to the repertoire and style of
bands they heard. White and Negro bands had the
opportunity to hear each other. Many of the 'legit' bands such
as Piron were heard and their repertoire was duplicated as
best they could. Thus the attempt at duplicating what they
heard was not perfect. This 'faking' was the principle element
of the beginning of jazz. The bands and musicians developed a
style that was more personal and each band could be known
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by their individual style. The bands were known as ragtime
bands but they played ragtime with what would be known as
jazz elements. New Orleans bands thus played ragtime in
what would be known as a jazz style making them heard with
a new way to play ragtime. The ancestors of jazz- minstrel
music, cakewalks were styles that these bands were exposed
to. Even the March compositions were said to be interpreted
in a 'rag' style. The cakewalk main rhythm was a syncopated
one (short, long short)
These 'amateur' dance bands played ragtime for dancing
in their own style. Playing ragtime was an art, especially for
pianists. This ragtime music was not simple and must have
been difficult to imitate by an amateur band. With
syncopation present the musician used it in their
performance. With the rhythm of the trap drums playing a
steady beat this emphasized the conflict between syncopation
played with a steady beat added. The wind instruments
playing together in a contrapuntal style was more cacophony
then schooled counterpoint of Bach. Thus no rules were
followed but played with a good musical ear.
Jazz grew up with all the above musical elements
present. These bands were accepted, not for their great skilled
musical abilities but for their ability to furnish music needed
for a certain activity. Music was a good activity for musicians
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who usually had daytime jobs and was a way to earn more
money. There were few people who could use music as a
regular job. A person who needed extra money would
attempt to become a musician and thus have more money
coming in.
The repertoire of the 'old' dance bands were played but
their dancers, being young, wanted new styles as those of our
present day and they attended to dances with these 'amateur'
bands playing. Soon most of the music played at these dances
was 'modern' for its day. This music became jazz.
A New Orleans music teacher, John Spriccio was a gifted
musician who loved "jazz" for its own sake and reveling in
"Blues" and tricky syncopation, he taught his pupils, including
Yellow Nunez, what is now called jazz long before it won a
place in the sun - old John Spriccio knew all the music of the
darkies.
Jack "Papa" Lane had known of the young Nunez who
played a tin whistle and eventually changed to guitar, he
began on when he first played with an organized group led by
John Spriccio, an early music teacher and violinist from New
Orleans, possibly the first teacher of "Jazz." (New York Mirror,
Dec. 114, 1918)
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Time Line for Lacoume
1885 - Born
1884/85 - Forms Spasm Band
1897 - Bucking with German Band
1899 - Fair Grounds & New Year's Eve Minstrels - becomes
blind
1901 - Visits Mayor (Lacoume is blind)
1902 - Playing in barroom
1903 - Enters Mrs. Wright's school. Had money stolen from
him.
1905 - Spasm Band plays for Archbishop
1906 - Playing guitar in trio. (Gregson leader of Spasm Band)
1908 - Trouble at Fabacher's restaurant (23 years old) Again
plays for Archbishop
1909 - Plays on Steamboat Tormentor (still in school) also sang
1910 - Perhaps last appearance of Spasm Band. Stale Bread
has orchestra
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1911 - New leader of Spasm band - Robert Hennessey
1913 - Playing piano in clubs.
1918 - Playing at West End
1919 - First mention of Spasm Band ' as a jazz band.'
1920 - Playing at Halfway House -guitar/banjo
1921 - Playing guitar & piano for toy fund
1922 - Playing at LaVida Dance Hall
1929 - Blue Moon Orchestra
1943 - Crippled right hand
1946 - Selling programs at Fair grounds. (Probably in 1943)
1946 - Died
Conclusions and Thoughts
Was the Razzy Dazzy Spasm Band the first jazz band?
There is mention of the band as early as 1894 (in the Times
Picayune, on May 31,1894) How does the performances of
the Razzy Dazzy Spasm Band compare with the early jazz
bands such as Buddy who by 1897 was developing a band
style and membership of his band and was taking a definite
shape. There were early Negro bands at this time, many
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coming from the larger brass bands) usually smaller in size
to fit in the smaller dance halls.
Both the Spasm Band and many early jazz bands were
comprised mostly of untrained musicians; their music was
cacophonistic, but it was played by musicians with good
musical ears. Did they think of chord progressions? The
Spasm Band were entertainers, using various techniques in
their performance such as trombone slides, unique sound
effects made by homemade cigar boxes, a gas pipe, tin cans,
musical saws, washboards, spoons, bells, pipes, sandpaper,
xylophones, sets of bottles filled with different amounts of
water, harmonicas, Jews harps, lone string fiddles, guitars,
small bass fiddles, tub basses, kazoos, ram horns, and steer
horns.) 'Showmanship' was an important part of the Spasm
Band's performance with singing, dancing and various
acrobatic antics. Early 'jazz' bands such as Bolden's Band
were playing for dances where the Spasm Band performed
as a 'show' band. Was their musical ability the same as
many of the dance band musicians? The boys in the Spasm
Band could not afford regular instruments unlike the dance
band musicians who used regular instruments and had some
instructions from their peers.
Did the ODJB, the Original Creole Band, the
Tennessee Ten and other bands in vaudeville get their antics
from this spasm band? The two bands mentioned were
vaudeville acts-not only playing music but dancing, singing
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and even comedy was included in their vaudeville acts.
(Creole Ragtime Band, Nov. 25, 1916 in the Colorado
Springs Gazette-at Basinstreet.com 'Creole Band' in ''Jazz
Studies III") Also mentioned is the 'Tennessee Ten Jazz
Band' in the (Scranton Republican, May 19, 1816, page 3 in
Basinstreet. com.')
The Spasm Melody
Others in the Spasm Band were choral or rhythm
instruments. We don't know whether other melody
instruments in the Spasm Band played a 2nd part as Buddy
Petit was known for. (See 'Under the Influence,' page 6 at
Basinstreet.com) Then what is the basis for calling the spasm
band an early jazz band? Did the Spasm Band eventually
acquire regular instruments, and what did they sound like?
The melodic instrumentation of the Spasm Band at
various times was a violin, harmonica and guitar supported
by various rhythm homemade instruments. The guitar
probably played chords, while the violin and harmonica
played melodic lines. Did the two melody instruments play in
unison, or one back up the other with a second part? This we
do not know. The violin would take the melody with the
harmonica might have improvised a 2nd part. It is likely
that there was no solo improvising. When one boy got tired
another would take up the lead. Being amateur musicians
they probably did a lot of 'faking' which led to a 'jazz'
interpretation. Not being schooled most of their playing was
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not by written music but by individual interpretation. We
read that the band 'bucked' against a German Band. How
could a spasm band outdo a German brass band?
This 'bucking' contest was mentioned in 1923, (New
Orleans States, August 19, 1923, 26 years ago-making it in
1897).
Did the Spasm Band develop into a more conventional
instrumental band? By 1903 were they playing mostly
regular instruments? This development could be the
beginning of a more jazz sound.
The Spasm Band was a string band. Was it an early
example of jazz? It did contain some jazz elements. First was
syncopation. The earliest example of syncopation is seen in
the works of Machaut (c1300-1377) The Second is
improvising. Music began with improvisation. It could be
called 'faking.' When a member played alone his skill and
musical knowledge was such that he probably didn't stick to
the straight melody but played it as well as an unskilled
music could. Bands of the era, either music readers or more
skilled ability than is seen in a musician that played by ear.
So the jazz main elements of the Spasm Band were
syncopation and improvising ('faking') their music. There is
no mention of 'blue notes' in their music. We must also
mention that the Spasm Band had a strong rhythm section.
We don't know if they played with a 'backbeat' which would
also be an element of jazz linked to syncopation. Where
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accents were placed is unknown. Also the tempos are
unknown. Did their performance include 'jazz' effects' such
as glissandos, half value and other jazz effects?
'Their repertoire was varied with popular songs, folk
songs and other music. There was a singer with the group
but we don't know how often vocals were used. The band's
antics also are spoken of that added to the group appeal.
There were other street musicians on the streets of New
Orleans but none received the fame and publicity of the
Spasm Band. There were small groups playing but a large
band of street musicians was not noted in any publicity or
newspaper articles.
A number of early so-called jazz bands couldn't read
music. They played solely by ear.
What was different with the Spasm Band?
Around 1894/95, the date of the beginning of the Spasm
Band, we don't have evidence of what these early bands
sounded like, only oral transcriptions describing their
sounds.
Their repertoire was extensive. A number of popular
songs ('Charley Butler,' 'Popularity,' and 'Bye, Bye, You'll
be My Honey.' 'I'm Glad I'm Married,' 'That's What the
Rose Said to Me,' selections from the 'Merry Widow' and
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'Big Night Tonight,') were played by the Spasm Band. The
boys in the band knew a number of folk and popular tunes
and often whistled them. (I wonder whether the early Spasm
Band could have played a number of the 'standard' jazz
tunes.). Stale Bread said: 'We copied off somebody. We
heard 'em in the streets an' we sang 'em in the streets. Now
they say we invented jazz.
Before disbanding did they develop into what is called a
'regular jazz band?'This was without Lacoume. The Razzy
Dazzy Spasm Band was one of many spasm bands given in
Newspapers The YMGC Spasm Band, The Fort McComb
Spasm Band, John Spramer Spasm Band, the Spasm Band
of the Elks, and others-Page 54)
The 'Young Men's Gymnastic Club Spasm Band,' listed
in 1894 in the newspapers was an amateur string band
mostly guitars that took the name 'Spasm Band' as they
were also amateur musicians that later developed into a
more professional band. (See page 43 for articles on this
band)
Other bands had the name of 'Spasm Band." This title
in this era meant they were not professional musicians but
amateur musicians most often playing homemade
instruments.
The letter of Huguenot (earlier quoted) and the band he
formed might be called the first jazz band. They were adult
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musicians and the members could read music. His letter
used the word 'jazz band.' (Dramatic Mirror, 1919)
We have no evidence for the date of disbanded of the
Spasm Band but it was around 1909. Lacoume was going
blind in 1899 and Gregson is listed as leader. It was during
his leadership that the band changed to regular instruments.
Could this be called the first real jazz band? Lacoume
continued in music after the Spasm Band disbanded. He was
a musician through his entire life.
Some answers of past history will never be known.
Whether one calls the Spasm Band the first jazz band will
always be debated but as the music of the Negro and white
minstrels, cakewalks and ragtime are now considered
prerequisites to early jazz. The Spasm Band will take its
place as such.
Henry Kmen describes the dancing and music of Congo
Square as early as 1799 had fifes and fiddles were used, and
in time banjos, triangles, Jews harps and tambourines were
added? Was this activity the ancestor of the Spasm Band?
It is not known who first called the Spasm Band the
'First Jazz Band.' (See Huguenot article) One wonders what
criteria were used and whether he had heard the music of
the band in a live performance. One's opinion, whether the
Spasm Band indeed was what is called 'The First Jazz
Band,' is open to discussion, opinions and historic facts. In
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history it is impossible to give a beginning date of an art.
Events can be dated accurately but the development and
evolution of an art cannot be dated.
Buddy Bolden (1877-1931) is considered the first 'legit'
jazz band. Again there is no recording of Bolden although
there is thought to be a cylinder that Bolden recorded but it
has never been found. Bolden had developed his band style
and membership by 1897. Did he hear the Spasm Band and
was he influenced by the band? That concept is hard for me
to believe.
The 'Right at 'Em Razz Band' formed and is said to
have been an imitator of the Spasm Band. In this band there
were reading musicians with Yellow Nunez a 'faker.' What
material did they imitate from the Spasm Band?
There have been no answers to the questions stated in
the above article. Perhaps the questions just lead to more
questions.
Jazz from Arica?
Information from the past is the question? Oral
interviews - how accurate? Questions asked - influencing an
answer? These are the questions about discovering the truth
of the past. Writers of the past should have no prejudice
when asking or writing. They should do their homework and
educate themselves in the true information requested and
not be influenced with what has been written before them.
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A writer should dig deep into the existing material but
with a doubt of material written. In Jazz there was one
article that mentioned that the Stale Bread Spasm Band was
the first Jazz band. There are no recordings of what this
band sounded like, only statements about their sound. While
there is in existence some info on this subject, no accurate
conclusion can be found. Many times writers just repeat
what has earlier been written, taking this info as fact with no
question about the validity of what has been written. Only
one article written calls them an 'early jazz band.' The book
'Jazzmen' takes the opposite view that it was not the first
jazz band. More info has been written stating that this band
was the first jazz band when disputing the claim that the
spasm Band was the first jazz band.
Jazz from Africa?
Early jazz research states that jazz came from Africa.
Most jazz researchers accept this view. If you doubt this
claim you are prejudice. Dr Miller has written a book on the
elements of North African Arab music and states that jazz
elements was present in North Africa Arab music. He makes
a good account of this music contains jazz elements. ('Roots
& Branches of Jazz,' by Dr. Lloyd Miller)
But - most African slaves came from the coastal villages
of Africa where Arab influences were not as great. The
music that these coastal slaves brought to America did not
contain jazz elements. They brought their culture (music
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and art) with them and it was melted with the European
culture they were exposed to. They integrated the European
culture with what music they remembered from their past.
The Arab music of North Africa was not present.
Every element of jazz is found in European music -
syncopation, improvising, the rhythms of the 4/4 March,
special effect such as a glissando of a trombone, the use of
the call and response and music for the dance. So jazz
elements were present in the music of Northern Africa but
not present in the music of the coastal slaves.
The elements of European music and the music of the
Negroes combined into early Jazz music. That is why the city
of New Orleans was the birth of the music later called Jazz.
The New Orleans Negro adapted the circumstances that
were found in his new environment. The musicians of the
city did not invent Jazz - it was not a deliberate attempt at
discovering the music we call Jazz but a gradual
development of what music was needed in their attempt at
playing music. I believe that it was this city that evolved Jazz
- both the black and white population of the city. During the
evolution of this music the social makeup of the city was
more liberal than other cities in the country. While there
was segregation between races the musical city of New
Orleans offered opportunities for each race to hear each
other's music. The city had March music, opera, dance and
popular music.
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It is usually the person who has the best publicity or
'blows his own horn' that is given the credit which might or
not be the case. As an example, the great trumpet player
Emmett Hardy; this early jazz was spread to the country by
the Original Creole Orchestra (band) in vaudeville, the use
of ballyhoo bands, and bands playing at the Lake
Pontchartrain lakefront and with the popularity of the
dance.
In my book 'Essay I' there is a section devoted to the
explanation of how a society (Slaves) reacts to their situation
in the city of New Orleans. (See page 53) It is the process
called 'Tentation' (the Mode or method of adjustment by
successive steps, trail or experiments). Tentation brings to
life the Slave musical culture diffused into the musical
environment of New Orleans. Their musical culture is
assimilated by acculturation and was culturally changed by
the process of innovation, social acceptance, selective
elimination and integration. It should be mentioned that
culture is the product of education not of heredity. Thus
Jazz was a process of altering a society, especially the
modification of primitive culture by contact with an
advanced culture.
In African the arts were a functional part of their
society and were integrated into everyday life. There were no
concerts or art shows but most events were benefited by
their arts. New Orleans had the benefit of using music in
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many forms: in concerts, art shows and music's
participation in events such as dances, parades, picnics, etc.
Jazz was influenced and evolved from the music that
was present in the minstrels, blues, cakewalks and ragtime.
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Alberto Chiaffarelli
1884-1945
Ciaffarelli was born in Prata Sanorita, Italy, 75k.
North of Naples on Feb. 8, 1884. He migrated to the U.S. as
an infant in 1884, with his father. Charles (born June, 18312
who was also a clarinet player. this was a musical family,
and Alberto's brothers Frank (born April 1871) and Angel
(born Jan. 1875) were also trained as clarinetists. In 1903-
1910 Chiaffarelli played in Victor Herbert's traveling
orchestra, and in several bands. In 1904, Chiaffarelli joined
the Sousa Band. Then for nine seasons, 1910-1919,
Chiaffarelli played clarinet in the New York Philharmonic.
The next season, in 1919-1920He became co-principal
clarinet in the Metropolitan Opera, remaining for two
seasons. Chiaffarelli then took the same position with the
Chicago Opera orchestra. In 1924, like a number of other
musicians, he worked in the orchestra of a theater, in this
case, the theater of Marcus Klaw (1858-1936) in New York
City. Unusual was that Alberto Chiaffarelli played on an
Albert system clarinet more associated with ethnic music
(Turkish, Klegner, etc.) than with a symphony orchestra. He
died in New York City in 1945. (From web site of 'Principal
Musicians of Met. Opera')
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